Category Archives: Maharajapuram Santhanam

Have you ever asked yourself ‘What if I am wrong in my beliefs? What if there is no God, no karma, no rebirth, nothing but nothingness when we are done here?‘. I don’t mean like a crisis of faith, but just those fleeting thoughts which linger, unanswered and unanswerable. The truth is, of course, we are all equally in the dark, the believers as well as the non-believers. Very often it is the non-believer’s arguments which seem more rational, more scientific. And even worse, the stories in the newspapers are of atrocities committed by believers, whatever genre their belief may be, rather than the non-believers. In this climate, it is hard not to eye the whole ‘belief’ thing with a certain wariness.

This struggle with belief is not new to Hinduism. You may already know of the Nasadiya Sukta नासदीय सूक्त (Hymn of Creation) of the Rigveda. The last two couplets are of particular interest, which I quote below.

But, after all, who knows, and who can sayWhence it all came, and how creation happened?the gods themselves are later than creation,so who knows truly whence it has arisen?Whence all creation had its origin,he, whether he fashioned it or whether he did not,he, who surveys it all from highest heaven,he knows – or maybe even he does not know.

It is so gloriously open-ended, isn’t it! These verses are about creation but there is something more fundamental, as if even the existence of the Gods and their power over creation is questioned. If even the Vedic seers had such questions in their minds, who will blame us if we do?

And yet there it is, my faith. Perhaps it is childhood indoctrination; in fact it almost certainly is that. However it has been such an old friend to me, has shaped my own character and the choices I have made in life so very much that it cannot be separated from me without causing grievous damage to all that I am. I very much identify with this quote by William Sloane Coffin Jr ‘I love the recklessness of faith. First you leap, and then you grow wings‘. It feels as if I leapt in my childhood, even before I knew I was leaping and over the course of my life my faith has grown wings. And like a kite it flies, tethered to anything rational by a mere thread.

But the questions remain.

And that is why I have chosen this beautiful composition by Oothukadu Venkata Subbaiyer today. ‘Whatever anyone says, fear not, O brave heart, keep singing about the compassion of the Lord‘ says he. Why did he write this song, I wonder. What did people say to him that he responded with ‘Even if this world says a thousand things we should keep it aside thinking ‘what is it to do with us?’. The words seem to speak to me when questions cloud my mind. Set to raga Manirangu, it has all the spirit and lyrical beauty of Venkata kavi’s compositions. It makes me smile because he encourages everyone to sing and even dance if they can!

Please listen first to Maharajapuram Santhanam’s rendition. It has been a while since I featured him, hasn’t it! I hope you enjoy his simply brilliant voice as much as I do.

And the second rendition that caught my fancy today is by Shobana Vignesh. Very nicely sung indeed!

Pallavi
Whatever (enna) anyone (yAr) says (sonnAlum), fear not, O heart (anjAdEnenjamE) [Alternative – O brave heart (anjAdanenjamE) ], sing (pADu) about the compassion (karunaiyai) of the Lord (aiyyan). Sing (pADu) with (ODu) elaborations (Alapanai) of the Raga. If you can (muDindAl), also dance (ADu) with (ODu) proper gestures and steps (aDavu). Even if you are given (tandAlum) many (pala) thousands (Ayiram) of precious (arumai) lives (piravigal), will this one come again (implied by varumO=will it come)? Therefore (Adalin)…..

Anupallavi
He will play (ooduvAn, literally blow) a (onDRu) flute (kuzhal) such that (implied) it would put the music (nAdam) of Narada and the Vedas to shame (nANa). (Note : there is a second nANa in front of kuzhal, I don’t understand why. Is there another meaning to it? Or is it for emphasis?). With his cloud-like (nIrada) anklets (kazhal) jingling (ADa, literally dancing), and the cowherdesses (gOpiyar) singing (pADa), asking (solli, literally saying) to be face to face (nErnErena) He would dance (ADuvAn) himself (tAN) (I am a bit puzzled about the ‘nEr nEr ena’. Perhaps this is a reference to the episode where He duplicates Himself for each gopi and dances with each of them face to face?). Sing of his (His) compassion (pallavi line)

Charanam
Didn’t (allavO) a man (oruvan), having cut (arindu) the peel (tOlai) and throwing away (dUra eRindu) the fruit (kani), presume to (tuNindu) give (tandAn) only (tani) the peel (tolai) to Him (implied)? [Note: This refers to the episode when Vidura, in the excitement of having Krishna close by, peels bananas and offers the peels to the Lord instead of the fruit. Krishna too consumes it. Vidura on realising what he had done is horrified but Krishna says he would accept anything offered with love.] Further (mElai), didn’t (allavO) a man (oruvan), knowing (terindu) that it was wished for (vENum enDRu), lovingly (virumbi, with liking) give (tandAn) a handful (piDi) of flattened rice (aval) to Him (implied)? [Note: This refers to the tale of Sudama]. Didn’t (allavO) a woman (oruvaL), having lived (irundu, literally been) lifelong (kAlamellam) in austerity, tenderly (kanindu) give (tandAL) a fruit (kani) after biting (kaDittu) and tasting (suvaittu) it? [Note: Refers to Shabari]. Even if this (inda) world (ñAlam) says (sonnAlum) a thousand things (Ayiram) we (nAm) should keep it aside (taLLi, literally push away) thinking ‘what is it to do with us?’ (nammakku edarkku enDru) and repeating (solli solli) His thousand (Ayiram) names (nAmam) sing (pADu) about the compassion (karunaiyai) of the Lord (aiyyan) (pallavi line).

Are my words ridiculous ? Is my public extolling of you ridiculous? If I see you always out of fear, out of doubt and out of grief, asking you for refuge, O Protector of those who seek your refuge, am I being ridiculous?

Personas & Masks. Are you wondering how I have come upon this rather unlikely topic for Carnatic Music? Well, I was listening to this beautiful kriti by Tyagaraja in which he asks of his God ‘Are you ridiculing me?’ and it struck me that prayer is something that strips us of all our masks, doesn’t it?

Saints or sinners, we will all admit to putting on one or more personas to get through life. Our work persona is quite different from our home persona which may again be different to our social persona. In fact, the Latin word persona means mask. Part of the need for masks is in response to society’s demands that we are seen to be ‘normal’, ‘cultured’, ‘business like’, ‘civilized’, etc. Part of it is our own deep-seated insecurities and shortcomings. Can we ever be our true selves even in front of our closest friends or family? I reckon not. Are we our true selves even in front of the mirror? Not always. There will always be some barrier, some veil behind which we hide.

Every now and then, when in deep grief and great fear, and especially in prayer, the veil drops and we are revealed for what or who we are. Even Meera sang once, साजि सिंगार बांधि पग घुंघरू लोक-लाज तजि नाची ‘dressing up, tying bells on my feet, I danced without embarrassment (shame)’. She had let her veil drop, physically and metaphorically, in her quest for God. Society mocked her then but reveres her now.

In Tyagaraja’s composition today, he is aware of having dropped the mask but is still uncertain about how he will be perceived, not by society but by God. ‘Are you ridiculing me?’ asks Tyagaraja to his Lord Rama. ‘Is my public extolling of you ridiculous?’. There he is, singing song after song, laying his heart at the feet of God for all to see, what if he was just making himself an object of ridicule? ‘If out of fear, out of doubt or out of grief, seeking you if I ask for refuge, will you mock me?’ says Tyagaraja. For lyrics and translation, see footnote. If you would like to know more about the raga, click here.

I am very fond of this lovely composition, especially on the violin. But first listen to the majestic voice of the Maestro Maharajapuram Santhanam.

For an instrumental, I will pick my favourite instrument-the violin, by my favourite Maestro, Lalgudi Jayaraman. I have also excellent renditions by Kanyakumari and a masterly performance on the Veena by Jayanthi Kumaresh which I enjoy very much.

Footnote (Lyrics) :

Language : Telugu

As I do not speak Telugu, the song is transcribed in Devanagari script. Lyrics are from multiple internet sources, aurally verified.

pallavi
Are my words ridiculous ? Is my public extolling of you ridiculous?

anupallavi
Out of fear, out of doubt and out of grief, seeking you always, if I say ‘give me refuge’ O Protector of those who seek your refuge, am I being ridiculous?

charanam

When Draupadi, fearing Durvasa, said ‘O resident of Dwaraka, give me refuge’, when Vibhishana, unable to bear the harsh words (implied, of Ravana his brother), said ‘Give me refuge’, when Prahlada, out of grief, said ‘Give me refuge’, did you not benevolently protect them? If so, are the words of this Tyagaraja ridiculous?

How many of us have sold out on our principles for surviving or progressing at work? or in life? I admit having much to be shamed of in this respect. I am ashamed to remember not having demurred when colleagues at work have chosen an unacceptable short-cut. I am ashamed to remember being silent in social or family situations for fear of conflict. I am ashamed to remember bowing my head to people unworthy of being bowed to. I am ashamed, yes. Yet I view my behaviour as being ‘practical’. I suspect that I am not alone in either having such secret stories of shame or in defending such action as being pragmatic.

It is my song choice of today, Durmarga Chara by Tyagaraja (1767-1847), which has set me thinking about ideology and practice. Is it true that while we ordinary mortals cede to such practicalities of life, the great ones do not do so? Is that what sets them apart, I wonder? Today’s song does speak of devotion, but it is more to do with the poet than the God he worships, and as such rather an unusual piece of poetry for Carnatic Music. So it interests me, this rare glimpse into the uncompromising mind-set of Tyagaraja.

Tyagaraja refused to acknowledge any man as his Lord, reserving that title for God alone. It is said that in 1802 King Sarabhoji sent for Tyagaraja after hearing of his musical prowess. In those days musicians performed in court singing in praise of the King in return for royal gifts of gold and land. Tyagaraja refused the invitation saying that he was already singing in the court of his Lord Rama and would not sing for any mortal. Takes a bit of courage to stand up to a king like that!

Durmarga Chara is set to the very enjoyable raga Ranjani. ‘I cannot call those wicked people who tread the path of vice as my Lord’ says Tyagarja. He acknowledges only God as the provider of grain and wealth. ‘I cannot praise those vile people who barter their knowledge (for wealth) and offer it to degenerate men at court’. For lyrics and translation, see footnote. To know more about this raga, click here.

After listening to thirty odd renditions, I could not go past Maharajapuram Santhanam’s excellent one from 1981. As it is quite long, I have divided it into two sections, the alapanai and the kriti; those with limited time have the option to listen only to the latter.

God is in everything. So say Hindu philosophers. तत् त्वं असि – Thou art that, they say with great conviction. Poets have sung of this. सर्वं ब्रह्ममयं – everything is infused by God sang Sadashiva Brahmendra with even more conviction. Kabir has written that God is within each of us. जैसे तिल में तेल है, ज्यूं चकमक में आग , तेरा साईं तुझमे है, तू जाग सके तो जाग – Like there is oil inside the sesame seed, like there is fire within the flint stone, your God is within you, awake if you can wake. So if we look around us, we should see God in all and the great universality of everything in us and us in everything, right?

Easier said than done! I often wonder, how did the Saints do it? Is it like looking at the clouds and seeing shapes within? We look at the world around us and look for the shape of God to emerge? It seems doable with nature at times. When I see the beauty of great mountains, the sheer magnitude of the Niagara, the power of a thunderstorm – I can convince myself that I can see the hand of God.

It is even feasible to feel at one with inanimate things. I sometimes confront the potato that I am chopping for dinner with a statement such as ‘what you call ‘I’ today, will soon be part of me, my body. You and I are one’. I am even known to declaim to the glass of water before I drink it ‘You were ocean, you were cloud, you were rain, you were other beings, and now you shall be me!’. And no, to those who are curious about the state of my sanity, neither the potato nor the glass of water have replied so far! So the inanimate, that I can do. But to see myself or God in all beings? Even in that idiot who took two parking places to park his tiny car so that I had to go in circles trying to find a spot? Is it possible? How did the Saints do it?

So it is with great interest that I pored over Oothukadu Venkata Subbaiyer’s song in which he says he sees Krishna everywhere. He writes ‘Whenever I see anything my thoughts go nowhere except your innocent face’. He provides examples : ‘When sometimes I am drawn to look at the line of the horizon, your tranquil face comes to mind!’ and ‘ Even when I find meaning in the song of a cuckoo, the music of your flute enchants me!’. So if I understand correctly, whatever he does, his mind and thoughts keep being drawn towards Krishna. He is not attesting to the fact that he sees Krishna everywhere, but to the fact that he himself can think of no other than Krishna. Is that the way then?

I will let you ponder the question if it interests you. For me, I will just take pleasure in this beautiful song, enjoying the enchanting and evocative images drawn by the poet-composer and marvelling at its foot-tapping brisk melody. Oh how I remember my mother today! She used to sing this song happily to herself while pottering busily in the kitchen. So it is my dearest mother I hear in this song, not the flute of Krishna! Set to raga Nattakurinji, this is a perennial favourite. If you would like to know more about the raga, click here.

To present this song, I have chosen a rendition by the great Maharajapuram Santhanam.

Note: I struggled over the translation of some bits and am not myself convinced that I have it right, my apologies.

Immersed in the thought of that innocent face, my heart reaches heights of ecstasy!

You, who are beautiful with skin the colour of the blue ocean, have taken residence in my heart from that day to this day. Whenever I see anything my thoughts go nowhere except (your innocent face).

When sometimes I am drawn to look at the line of the horizon, your tranquil face comes to mind! When my thoughts change at a track of clear still water, your smiling face appears before me! Even when I find meaning in the song of a cuckoo, the music of your flute enchants me!

In the expertise with which the dark flute with a peacock feather stopper is made, in the forest where the peacock dances, the cuckoo sings and a blue river runs,

In the glint/flash of the flute held in young hands from which meltingly exquisite music comes, in the flashing movement of your two eyes,

In the fast-moving feet on the head of the snake Kalinga, you still my mind. With the greatest of compassion, please give me the boon that in birth after birth I should melt (for you) with my dreams and memories intact.

Those who have been following my posts know that I have been haunted by Shivaranjani this week. I am still not ready to move on, so here are two Thillanas in this raga of pathos. These are compositions of two musicians I admire tremendously. For those unfamiliar with Carnatic Music, a Thillana is a form of composition, very rhythmic in nature and well suited to classical dancing.

Lalgudi Jayaraman (1930) is my first love and probably will remain my last. This is an enchantment which has lasted a lifetime. I strongly believe that his music comes as close to Divine as music can. I have always imagined his music to be like a channel, a wormhole in spacetime, which allows the listener to travel from this mortal world to other mysterious and heavenly places. Playing concerts from when he was just 12 years old (he is 81 this year), his life has been dedicated to music. He says ‘I am nothing without Music. Even in all my future births I want to be born only as a musican’ (quote).I pray that I am born wherever he is and get to keep enjoying his music.

Maharajapuram Santhanam (1928-1992) was blessed with a voice which would make anyone pause and take note. In the mid-seventies, when he came to Delhi for a concert, he stayed in our friend and neighbour’s home. I remember sitting in their living room, listening to him practice and sing to the family. He was a man with an impressive girth and a larger-than-life presence. His voice had such resonating force and beauty that it left an indelible impression in me. A truly amazing artist. I remember attending his concert that evening as if it were just yesterday. The magic of his voice lends strength to these memories from long ago.

Both these amazing musicians have composed Thillanas in Misra Shivaranjani (click here for more on this raga). Today I present you these Thillanas performed by the maestros themselves.

First listen to Lalgudi Jayaraman’s rare recording of a life performance of his own composition with his son G.J.R.Krishnan, starting from 22:20.

Was that not exquisite? I wept when I heard it first; I still find it heartrendingly beautiful. For the pallavi and its translation, see footnote.

Don’t miss listening to this vocal version by Bombay Jayashri, whose voice, I think, is closest to the lyrical sounds of her Guru’s strings. She is quite outstanding, do listen:

Come O spear-holder! One whose spear is sharp! Come on a peacock! O Kumara, come to grant me boons! Why the delay? This is the time to show compassion! O Peacock-rider who who is venerated by Maharajan (signature of poet).

I meditate upon the supreme Ganapati who is worshipped by Vasishta, the Vamadevas, etc. He is the son of Lord Shiva, is praised by Guruguha. He shines bright like millions of cupids. He is tranquil. He loves great poetry, drama, etc. He loves the sweet Modaka. His mount is a mouse.

Happy Vinayaka Chaturthi to all ! Today is the most important day for the worshippers of Vinayaka, also known as Ganapathi, Ganesha, Vigneshwara etc. The beloved elephant headed God is worshipped all-over India but is especially beloved to the people of Maharashtra and South India. An ancient God, there are indications that He was worshipped as early as in 1200 BC.

Thus I pray every morning :
“You of the twisted trunk and massive body with the dazzle of millions of suns, Lead me Lord on a path that has no obstacles or hindrances in all my good endeavours”.

Ganapathi is worshipped in 32 different forms such as Bala Ganapathi (child God), Veera Ganapathi (Warrior God), Siddhi Ganapathi (God of Achievement) etc. My personal favourite, given my love of music and dance, is Nritya Ganapathi (the Dancing God), whose picture adorns today’s post. Much as the rotund form of Ganesha is beloved to us, today we should look beyond the obvious into the symbolism of this form.

His large and rounded body denotes the entire universe. He is the embodiment of all.

The Elephant, which is a vegetarian and doesn’t kill to eat, signifies gentle strength. An elephant also responds to love and affection as God will respond to our love.

The large head symbolises wisdom. The large ears sift truths from untruths.

The curved trunk denotes the primal sound, the mystic OM. This symbol in Sanskrit ॐ resembles an elephant and his trunk; the Tamil ஓ resembles the head and trunk.

The trunk also is a symbol of discrimination – the same trunk has the strength to pull up a tree or pick delicately at the smallest of things.

The great stomach symbolises that Ganesha swallows the sorrows of the universe and protects the world.

The mouse which is underfoot symbolises the petty desires and ego of man which needs to be vanquished.

Ganesha is shown to hold different items in his hands, about 40 different ones being common. Each represents an attribute. In the picture above, one hand in the Abhaya pose says ‘Don’t fear, I am here’.

A hand holds the double headed axe to symbolise his destruction of impediments and evil.

A hand holds the lotus flower, which indicates purity as the flower grows unsullied even in the dirtiest of ponds.

The fourth hand holds Modaks, the sweet dear to Him. Today thousands of worshippers will offer these sweets to their dear deity. Modakam in Sanskrit means that which gives joy and pleasure (Moda); just as this sweet gives us joy, Ganesh too blesses us with joy.

In honour of Ganapathi, I present the short invocation Maha Ganapathim Manasa Smarami (I meditate on the great Ganapathi) written by Muthuswami Dikshithar (1775-1835) and set to raga Natta (to know more about this raga, click here). This familiar and well-loved song is very often sung at the start of Carnatic Music concerts, as all good tasks should be started by invoking His name.

To present this song, let us start with the gentle voice of Yesudas singing in the film Sindhu Bhairavi.

For an instrumental version, listen to U.Srinivas on the Mandolin here .

Lastly, listen to this vocal version by the Maestro Maharajapuram Santhanam :

I meditate (smarAmi) on the supreme (mahA) Ganapati who is worshipped (vandita) by Vasishta, the Vamadevas, etc (Adi). He, the son (sutam) of Lord Shiva (mahAdEvA), is praised (nutam) by Guruguha. He shines bright (prakAsham) like millions (kOti) of cupids (mAra). He is tranquil (shAntam). He loves (priyam) great poetry (mahA kAvya), drama (nAtaka), etc (Adi). He loves (priyam) the sweet Modaka. His mount (vAhanam) is a mouse (mUshika).

Sunday mornings my mother would hurry us up to get ready, my sister and I, to take us to the Chinmaya Mission classes. It was our equivalent of Sunday School. There we would hear stories from Hindu sacred texts, memorize portions of the Bhagawat Geeta and learn other Shlokas.

What a good prayer! Those Vedic seers had vision – how can individual well-being stand on the shoulders of collective misery? Let us indeed pray for universal good!

What I learnt at 8, I still chant today. What has all this to do with the song ‘Bho Shambho’ ? Just that the song was written by Swami Dayanand Saraswati (1930), a teacher of Vedanta, who had his roots in the Chinmaya Mission. Subsequently, he founded the Arsha Vidya Gurukulam and is to this day connected with this institution. Just as I learnt shlokas from the Chinmaya Mission, there are many young people learning Vedanta from his institutes today. I am so glad our ancient heritage continues to be taught.

His bhajans (devotional songs) have been sung and popularised by the Carnatic music maestro Maharajapuram Santhanam. I have always held a deep affection for the Maestro’s wonderful voice. Bho Shambho is set to the raga Revati (click here to know more about the raga) , a raga which always reduces me to tears and deep longing for I don’t even know what. Click below to listen :

There is a visual treat to follow : I present below a beautiful Bharatanatyam dance performance to this song by Croatian dancer Nikolina Nikoleski, student of Dr.Saroja Vaidyanathan. Her movements and postures bring to life this dance of Shiva, He who is the eternal dancer.

Footnote (Lyrics):

I have transcribed them in Sanskrit with an attempt at an accurate translation.

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